Questions Every Actor Needs to Ask with 'Cape Fear' & 'The Wire' Star Jamie Hector

The best way for an actor to build an authentic character boils down to asking the right questions. Jamie Hector, who’s been seen on television hits like The Wire and Cape Fear, reveals how leading with curiosity and empathy paved his way to working alongside greats like Spike Lee, Steven Spielberg and Martin Scorsese. In conversation with host Robert Peterpaul, Jamie explores the art of getting to the truth of every role.

In this interview for actors, you'll learn:

• The serendipitous training that prepared Jamie for his breakout role
• Why asking specific questions is the foundation of every great performance
• What he first does when he reads the script for a show like Cape Fear
• Lessons from working with titans like Spike Lee, Amy Adams, Javier Bardem and Steven Spielberg
• Why slowing down during your script analysis and scene work breeds more nuanced, truthful characters
• Practical tips for actors at every stage: from audition prep and self-tapes to understanding the business side of acting

JAMIE HECTOR is a two-time Emmy Award-winning executive producer and actor whose career spans more than two decades. Known for his commanding presence, emotional depth, and authenticity, he has built a remarkable body of work. Most recently, Hector stars in the acclaimed Apple TV+ series Cape Fear and serves as executive producer of the two-time Emmy Award-winning sports documentary series The Story of My Number on the YES Network.

A graduate of New York’s Lee Strasberg Theatre & Film Institute, Hector gained recognition as Marlo Stanfield on HBO’s The Wire. He further cemented his TV star status with his portrayal of Detective Jerry Edgar in Bosch and Bosch: Legacy, while also developing his skills as a director and producer. Additional television credits include We Own This City, Queen of the South, Wu-Tang: An American Saga, The Strain, and Heroes. Film credits include Vacation Friends 2, All Eyez on Me, Night Catches Us, and Max Payne.

In 2026, Hector expanded his creative voice with Enough, a YA short film series he directed, centered on a Brooklyn performing arts student navigating identity and vulnerability in the age of social media. Beyond the screen, Hector is the founder of Moving Mountains Inc., a nonprofit providing free arts education to inner-city youth, and the author of five Scholastic children’s books—reflecting his lifelong commitment to mentorship, education, and storytelling.

This is - How We Role. Discover fresh casting calls at castingnetworks.com.

Follow Host, Actor and Producer Robert Peterpaul (Amazon's Sitting in Bars with Cake, The Art of Kindness podcast) on Instagram @robpeterpaul and learn more at robertpeterpaul.com.

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Transcript

Welcome And Why Questions Matter

SPEAKER_03 0:31

Hey, what's going on guys? My name is Jen Jamie Hector. I'm 6'1.2 inches. Uh, and you're listening to How We Roll. Peace.

SPEAKER_00 0:41

When it comes to working in entertainment, there's a lot of hows, and they all boil down to how we navigate this wild industry. While how we follow our dreams is uncertain, how we roll along the way is in our hands. Welcome to How We Roll, a podcast for actors by casting network. Hello actors, it's your friend and fellow actor Robert Peter Paul joined by another one of us in the studio, actor Jamie Hector, to discuss how asking specific questions can help us tap into the core of a character's humanity. Jamie Hector is a journeyman actor and a two-time Emmy Award-winning executive producer, best known for his iconic portrayal of Marlo Stanfield on HBO's The Liar, as well as Detective Jerry Ector on Bosch and Bosch Legacy. Some of his many other credits include We Own This City, Queen of the South, and Wu Tank in American Style. Jimmy now stars in Apple TV's acclaimed series Cape Fear, alongside Amy Adams, Patrick Wilson, and Capier Bardem. Beyond acting, Jimmy's a director, producer, author, and gives back as the founder of the nonprofit Moving Mountains Inc., which provides free art education to inner city youth. I sincerely enjoyed spending time with Jamie, who was incredibly thoughtful with his insights on the craft, and overall is just a true actor's actor. Friendly reminder, you can watch this conversation in full on our YouTube channel and catch clips on social media at Rob PeterPall and at Casting Networks. There you can also submit your house friend for a chance to be featured in an upcoming episode. Now here's how we roll with using character-defining questions to find the humanity in every acting role, featuring Jamie Hector. Let's roll.

SPEAKER_02 3:06

Thank you so much, Lava. Wonderful pleasure to be here.

SPEAKER_00 3:09

Cape Fear is delicious. I gotta say that at the top. So before we get into that and kind of break down all the ways that you find humanity in your acting roles, which is something I truly admire about you, we'd like to start with this question, which is what was your first paid gig in the industry? And what do you think it taught you?

SPEAKER_03 3:27

Wow, my first paid gig. I booked a commercial, United Negro College Fund commercial, directed by Spike Lee. It it actually provided

First Paid Gig And Being Prepared

SPEAKER_03 3:37

me my first opportunity on a plane and flew that land to Georgia to shoot this. And it not only was my first paid gig, it also got me in a SAG. And also it taught me that to always be prepared in all things. So it was me playing a young Edwin Moses jumping hurdles because that's what Edwin Moses did. Now, because I ran every day, one thing I didn't do was jump hurdles. So the night before I got a coach, went to the park before I caught a flight, and we jumped garbage cans and benches in the park. Wow. Unbeknownst to me, we were gonna go to Atlanta film young Edwin Moses when he started his career, or before he started his career, and what he trained on was garbage cans and park benches. So being prepared always an all thing is what it taught me.

SPEAKER_00 4:41

That's so serendipitous, the fact that little did you know that's exactly how he trained. That's incredible. I love that story.

SPEAKER_02 4:48

Yeah, thank you. It was it was it was really surprising to me as well, right?

SPEAKER_00 4:51

Yeah, I was like You know, when you first started out, I wonder, I guess before we get into where you are today, did you have a North Star or a dream role as far as I guess the expectations you had for this journey and this career? Was there any sort of vision in your mind?

SPEAKER_03 5:07

Uh love of character work. So the vision in my mind was always to somewhat emulate those that transformed, right? So watching Denzel and Malcolm X and watching Daniel DeLewis in my left foot and watching, you know, Joaquin Phoenix and the work that he does, I would always want to be in a project that I can lead and be transformative. Developing a character from the inside out. That's always been my North Star. So whether

North Star And Building Technique

SPEAKER_03 5:36

that encapsules an action, um, a film that is like Matt Damon and Jason Bourne, right? I love The Last Forever, but at the same time, a character that's trying to find himself. So that was always my north star. So whenever I went and I was training, I was always trying to figure out how I can go deeper. How can I go deeper?

SPEAKER_00 5:58

Yeah, the going deeper is something that you you learn, and then sometimes we forget, and then we remember that stories aren't just about those visual things we're seeing, but there's obviously a lot going on underneath. And usually there's sort of one main theme that a whole story is is really talking about, which I think is so cool. And I learned a little bit about that in a space that we share, something we have in common, my friend, which was that we both studied at the Lee Strausburg Theater and Film Institute behind that red dar in New York. You were you in New York too? Because you're from Brooklyn. I'm from Brooklyn, yes. Yeah. So we probably had a lot of the same teachers. Yes. Actually, I did some digging. I pulled this out for you today. Do you remember this? Did you have this little Lee Straussburg definition of acting right here, which is kind of filled with what acting is not? There's a lot of what it's not in here. I was rereading it this morning. And I think you've certainly found what it is. And I just wonder, we have a lot of people starting out. And as far as taking classes and sort of finding the method that clicks with you, what's your advice there on sort of cobbling together your own technique as an artist? There's all different techniques and classes, and I think along the way, we kind of make our own no matter what. But what are your thoughts for people just starting out on how they can sort of find what serves them?

SPEAKER_03 7:12

You know, it's funny because it's like finding what serves you to me is actually trying to experience as much as you can. So I I went, I studied at Strasbourg, but I always wanted to also know what it was like to study Meisner. So I went and did that as well, right? And I realized I'm more of an inside out kind of guy. And I felt like Meisner for me, not saying that that's what it is, it's more of an outside in, immediately stepping into it. So, but I had to find that out to realize there was some things that I can take from that as well. Um, from all different so I I did not only study at um Strasbourg, I just did more time there, right? And I love it. I love that journey of really trying to explore the inner life and all the different techniques, as you know, right? Um, I'm excited to know that you studied at Strasbourg as well. And just always asking questions. And I think that's the thing. The thing um advice that I would give is just to always constantly ask questions, even if you don't understand it, because sometimes I was working on exercises, I was just taking orders. I was like, okay, just saying do this and I'm gonna get better. It's gone. I know.

SPEAKER_00 8:25

What's your morning routine? And you're like, I think I'm brushing my teeth. I don't really feel the foam or the bristles, but everybody else looks like they're doing it. I'm doing it, yeah.

SPEAKER_03 8:34

And then you take it back home and you do it four hours a day, every day, right? Then you bring it back to class. And then the emergency you realize the more questions for me, the more questions that I ask, because I didn't understand sometimes what I was doing, I was like, I'm just doing it, but it's later on that I realize the results and the effects of it and how it really played a big part. Like, for example, personalization. I was doing personalization, personalization in class, right? Finding that thing that was personal to me when I was young and really studying it and analyzing it, smelling it, everything. And it didn't affect me when I was there, but it's not until I started working on a project and I wanted to personalize either the setting and or an object or a relationship that it really clicked in for me.

SPEAKER_00 10:08

Yeah, I love that. You've already answered three of my next questions here, but I love that you said that one of the biggest things, you're ahead of the game, one of the biggest things that you took away from your training was just that, asking questions. And it makes me curious from the start, which is usually an audition, right? When you get the material, I'm sure at your level, you usually hopefully get a script. Sometimes it's not available, maybe, or it's mock sides. But do you find there's one question that you first ask? Is there usually like one question that you think really helps you start to peel the onion?

SPEAKER_03 10:40

That's a good question. Well, okay, let me think about my process, right? Um, in regards to that, like the first question for me is who is this person? So I just like to read the material and just navigate to who this person is.

SPEAKER_00 10:55

Um Jean Valjean, who am

Auditions, Playlists, And The Business

SPEAKER_00 10:58

I?

SPEAKER_03 10:59

Who am I? Right? And you learn it based on what people say about you and what you say about yourself and what you learn from the material. So that's one of the main questions that I'm asking. Because that's the question of life, right? Everyone's trying to figure out who they are, what's their purpose. So that's one of the first questions. Who is this person that I'm actually first? I'm curious about the story. But then as I'm diving in, it's like, who is he? What makes him?

SPEAKER_00 11:25

Yeah, you know, I have to thank you because researching you and of course watching you on Cape Fear and then dabbling a bit into your journey has really kind of recentered for me the art and the love of being a craftsman. Because even on here with the conversations I have, and of course there's that side of the brain too, and it is important to know the business and we can get into that a bit, but you really reminded me just how the work always comes first and it's the joy of it, and not even waiting to have a job. You know, you can read a script and pretend you're about to do it and go through the process on your own. So thank you. And then I guess looking at that soup to nuts of it all, when you get that ping for an audition, I don't know if you immediately dive into this, but I heard you love sort of cobbling together your own media world with musical playlists and pictures and videos. Is that sort of something you dive into right away? Is that is that what always grounds you, or is that once you book a job and you and you have more time to put into things?

SPEAKER_03 12:25

Funny enough that you would ask that question, because one I was in LA at one point and I was preparing for an audition. I was by a friend's house, and he left and he came back. And by the time he got back, and it was for an audition early on in my career, and I I already like created exactly what you said, a playlist, and every question was like five, ten pages. Who am I? Five, ten pages. Yeah. Down to the need and the obstacle and everything, right? And he looked at me and said, This is what you do to prepare for an audition. So what do you do when you get the job? That was early out when everything was on the table, the passion, which I still have, but everything. I just wanted to continue to exercise that muscle of um the process and not wait until I get a job to exercise that muscle and that process of wanting to ask more questions, wanting to know psychologically who this person is and why is this person, how did his environment affect him, and just asking these questions. And quietly enough, it also helps me answer questions in my own life, right? Because and and if it's and if and if it's an audition and it allows me the time, right? If it's not like, okay, here's the audition today, we want it tonight or tomorrow, then it allows me the time. But if it's if it's something that's immediately, then now I just go into it. But if I have the chance to work on this project and associate a song with it and or painting and or the setting, for me, you know, I I mean, I love that process. And then just create learning more about that character, then I I go in immediately with all of it.

SPEAKER_00 14:13

It is so fun. All of me, John Legend. Sorry, I'm quoting all these random songs here today, but I think that's so beautiful. And it reminds me of the extraordinary work that you do with Moving Mountains, of course, as a mentor. And that was something that came up for me because I know authenticity is so important to you and you have such a strong faith, and you sort of know who you are and you have your convictions. And I'm curious about how you help the the young artists you have coming through find that and how that could translate to people listening today. Because I think no one has the answer, right? Finding out who you are is a life's journey. But if you can sort of distill one thing or attach yourself to something you believe in or you feel like that aligns with what others see in you, that's gonna help you in your career, right? It's gonna sort of help you early on. So, what are your thoughts there? I know I threw a lot of big questions at you, and it kind of goes with what we're talking about, the who am I, the tangible house, I guess, of figuring out who you are as an artist.

SPEAKER_03 15:10

And you know what? It's funny because working with young actors, there's a few things that happen. One, you get better. You mentor, you help, you encourage, you direct, you also get better. But it's not for a selfish reason, but it's also to build the confidence, right? To inspire on being ferocious readers. Like if you're in this industry and you think you're not gonna be ferocious readers, if you're not if you're not gonna be um dedicated to loving to read a Harry Potter book, then you'll get a script like a matrix. And it's just gonna be too much heavy lifting for you, right? So prepare yourself through that, but at the same time, being um aware that the part that you may not want to do is the part that you have to do. So I love as well as you the process of training. But it's mandatory that you understand the business.

SPEAKER_00 16:16

Yeah, you need sort of both sides of the brain.

SPEAKER_03 16:19

Absolutely, which is hard, right? And so that's the thing that I that's the thing that if somebody would have told me earlier out, I would have really tried to use that side of my brain as well, even though it probably would have taken away a little bit from the crafting because I dive so deep into the crafting part. But sharing with them is listen, if you're not one that's engaged in the business part, then find someone around you that is and that they have your back and that they can make sure that you have all balls in the air at the same time. Because you want to be able to be a successful working actor.

unknown 16:54

Yeah.

SPEAKER_00 16:55

Into the unknown. Sorry, I'm gonna keep quoting songs. I do need to tell listeners that we had some tech things today. So I'm I'm paying attention to muting myself when you're talking, but I want everyone to know that I'm constantly going, mmm, yes, okay. Yeah, I agree, I agree. Because it is so true what you're saying, and it's rooted in I think a topic I really wanted to cover with you that we're already getting to, which is just the humanity you breathe into your characters. Characters can be sort of a dirty word, but the the people you're bringing to life from, of course, the wire, which you've certainly gotten so much acclaim for, which I know is a person very different from you. You figured out where you align all the way to Cape Fear. And so as we get into today, Cape Fear and everything you're working on, I'm curious how you employ that empathy and that kindness to the character you're playing. And then I guess it's twofold, right? Also to yourself along the way and not judging the the choices that you're making.

SPEAKER_03 17:51

So how I employ it is one, by I love the process of shadowing. Right?

Shadowing Real People For Empathy

SPEAKER_03 17:58

Um find someone that is similar or holds the same either physical characteristics and or life principles, right? Of the character. And realizing for them to reach to the place that they are today, they came from somewhere that allowed them to make the choices and the decisions. Like, for example, Marlowe. Um it was several people, but I made it a point to actually be around people that I know that have the mindset of financial gain, of extreme capitalism, of like anything goes to gain that power and that success. They didn't know that I was watching them and studying them and paying attention to things that come out of their mouth and the way that they move, but I also know that they came from somewhere. So to apply that level of empathy and love to the character and not judging, my go-to is to be around or watch individuals that really are engaged in that way of life. With Kate Fear, for example, it was a private investigator. I just spent time with him. You know? And that's how I like try to, and then when you can attach a real person, like you can really treat anything bad at times, or like, eh, if you don't associate it with a level of humanity, like, oh, this is a human being that reached to this point in their life, whether it's good, bad, or indifferent, based on circumstances that they experience. And once you're in close proximity to that person for me, then I'm just like, oh, you know what? There's things that you love, this thing that you hate, this there are reasons why you are how you are. Then I just try to grab in certain um points of that and bring it to the material.

SPEAKER_00 19:51

Yeah, I think that's so incredibly stated. And it's almost like every person you're portraying, every character is a composition of music, and it's like bringing these different notes in. And sometimes the notes present differently at first. It's like you may think someone's, I don't know, rude or guarded, but then really when you break it down, they're actually traumatized and they're scared and they're leading with fear and they're presenting very stoic because of X, Y, and Z. So there's so much work always to unpack, which you don't always have the time for with auditions. And I wonder, as far as your audition for Cape Fear, it's hitting everywhere. People are obsessed with the show. It's doing so well, everyone's loving it. And it's a current show on one of our top networks here, Apple. I'm just curious what the process was like for you, if you could kind of clue everybody in a little bit.

SPEAKER_03 20:39

Well, fortunately, they they I was able to read the script early. And then I was um fortunately able to have a conversation with Nick, which is the showrunner, and Amanda, and we spoke about Ray and who he is. And I also shared my own personal experience with a district attorney that I know in Brooklyn, an amazing district attorney that passed away, but he helped exonerate over 23 wrongly convicted inmates. So we had a conversation about that, and then I was able to again look at the material. And because I know of those individuals, and I've spent time with them as well at Columbia University, at different instances and different events that I would um attend, I was able to really approach the world through their lens. They become private investigators. I I wanted to find out, look, what do you do when you're incarcerated for a crime that you didn't commit? And then an organization helps you get out of prison. And now you your record is expunged. You have an opportunity to go back and get a higher education. You no longer have a record. You can now not only do that, but most of them become private investigators. So many of them I know are taking the bar. They become attorneys. So we had that conversation, Nick and I. And then when I look at the material, I just try to look at it through the lens of those that are experiencing that in real life.

SPEAKER_00 22:16

Yeah, that was my next thought because you're so deft at script analysis and you talk about it a lot, which is cool. And it's kind of a hard thing to talk about in this medium a bit, but on a basic level, what is the most helpful thing for you when you're kind of first going through with your magnifying glass? I guess after you have the conversation with, like you were just saying, the real people, it totally changes, and the team, it totally changes. But what would you advise actors listening to really do when they're going through? Because you get into things even as far as like how long the sentence is, how many what kinds of words they're using, why they're using those words. Oh, maybe they're not speaking a lot because of this. I mean, you ask so many questions, which I just think is brilliant.

SPEAKER_03 22:58

The first thing for me is just to read the material. Right? And then it's I mean, think about it when I'm looking at the material. Because the first thing I do, I just go to a quiet place and I sit down and I just read it and just try to get everything out the way, right? So I read it once with all of the Instructions and the directions, etc. Then I read it again, just dialogue. Because now I have an idea of where every character and every scene is going. And then I just get into asking questions about my character. My person. Me, placing the truth here, understanding and starting with the truth. So then I start asking every question that I can possibly ask about where this person is. All of these things affect me, the setting, who he is, what he's doing, where he is, why he's there, what he needs, the obstacle, how to overcome every obstacle, and not just create these imaginary circumstances that he has to overcome. So the first thing that I would advise is to really just take your time and read no rushing. Just read it and enjoy the journey of diving again. You know, that place that makes you vulnerable is diving into that place of the unknown. And if you approach it like that, like that thing where it's just like, okay, this is a new world. Keep that passion alive, right? Because things are happening so fast today. The beauty of historical films is that it took time to make a film. It was a long distance run. It was a marathon. It was, you walk with the director, you have a conversation, you explore, you explore, you talk, you read the material, you look at it, you come back, you revisit. But now it's just like you're moving. So you got to move with the times, right? But I think you still have to take time for yourself and just read and enjoy that process.

SPEAKER_00 25:06

That's such a beautiful life reminder as well, just to slow down in this go-go-go world, like you're saying. Yeah, I think we all we all can take that and and well, I was gonna say run with it, but maybe walk with it since we're talking about slowing down here. I'm curious as far as each scene, and obviously in an audition situation, it which is a different beast, you want to do this just to show that contrast. But in looking at the scenes and the arc of each scene, how does that come into play? Are you very aware of like how the character enters a scene and how they exit? Are you are you always trying to show a little bit of like doesn't have to be growth in a scene, but sort of just like that difference? I mean, especially with television, there's sometimes there's like the the button that you're hitting, you know what I mean?

SPEAKER_03 25:49

Yeah, you know, I don't get into all of that. Uh the the reason why is because what what I try to get into is just the reality and authenticity of the scene, hoping that it's on the page in regards

Authentic Scenes And Threading The Arc

SPEAKER_03 25:57

to writing. Right? Like, if you create a dynamic character for me, right, it's gonna be on the page. And for me, having a conversation with my pastor is gonna be different than having a conversation with my peer and my friend. So if I'm really engulfed in this thing, if I'm really paying attention, if I'm really focused and locked in in regards to the relationship dynamics, then it's gonna show. The transformation is gonna show throughout the process. And then you won't be a stock or a static actor for me, right? So, in terms of trying to pivot to um respond in a certain way according to um maybe the arc, I really just try to look at it as a whole and then approach it based on every scene and every moment and and and be as authentic and honest in those scenes and those moments as possible. So I try not to look at the material and say, okay, this is where it pivots. I more so look at it and say, okay, this is the reality of the situation that's happening here, you know. Um and then approach it in that way and then just travel through. Unfortunately for us, we we we we work and the the material, you'll shoot the last thing first, you'll shoot the so I thread it. So this is where working on streaming has been beneficial because I will receive eight episodes at once. If all's complete, I'll get all. Unlike working on I was getting one episode, I would shoot it, then I would get the next one after two weeks, or within that process, and then so working on Bosch andor we own the city and haven't had access to all of the material, because we're gonna shoot out of order, I would thread it from the beginning to where I was with the assistance also of the script supervisor in order to makes a lot of sense.

SPEAKER_00 28:55

And he was talking about the wire. I think the the title cut out for a second there, but it's such an interesting reminder as a watcher, too. It's like you'll start these series. I mean, we're deep in a rewatch right now of just a very sort of like comfort watch of One Tree Hill. I don't, I don't know, my wife and I. And it's like you'll see someone come in that was maybe supposed to just be a guest star, and then in three or four episodes in, they've turned into sort of like this killer that's stuck in a psychosis and doing something wild. And they probably didn't know that and would have maybe planned the art differently. But as the audience, there's not necessarily a difference. So I think it's like that that comfort of the actor knowing and having all of them on a streaming series, which maybe provides, yeah, more of a foundation and footing for you and everything you were just talking about. And then, of course, at the top of that, I gotta conjure up Steven Spielberg, Martin Scorsese, two names synonymous with filmmaking that are producing this series. Do you still, I guess, first of all, I know that you're so acclaimed in a veteran. I just wonder if you get these jitters knowing that you're gonna be working under them. And then, of course, alongside an Amy Adams and Javier Bardem and CCH Pounder and Patrick Wilson. I mean, how does that sort of come into play for you? Like before that first day of set? What are you feeling?

SPEAKER_03 30:08

No, we you know, I used to get the jitters early on in my career. Now, for some reason, what gives me comfort is knowing that the process that they've taken throughout their journey is constant growth and evolution and learning and loving and appreciation for the work. And the close and proximity that we get to each other, I realize that we share the same similarities. So, for example, working with Javi Nier, um for me on the wire, the animal that I associated with my character was the lizard. Moving forward, there are animals that I associate also. And you know, you observe them, you know the process. You observe them from the outside in, you study them the way you walk, the way you talk, on we own the city, from here it was the raccoon. With Javier learning, being working with him and also speaking to him and also watching his interviews, his was the cheetah for Max Caden. But what it did for me was always reminding me that I'm on the right course, moving in the right direction, doing the work that you're supposed to do to be honest, truthful, and um just keeping a love for the work, being in close proximity to Spielberg and Scorsese and Javier, and I was having a conversation with Amy, and she was talking about musical theater, and knowing that they come from the foundation of work that is, you know, that that's one that they still love, that they love, and the process that they go through to continuously create great work is what I do. For me, is like I think it would be more so if I came unprepared.

SPEAKER_00 32:12

Yeah, that would be scary. That would be a shaking cheetah or raccoon hiding in the trash can, maybe, but I understand what you're saying. And we actually had, and I'm friends with Amy's acting coach, Warner, who's such a lovely woman who I probably came to your set. And it's interesting to know that there are some, it's sort of like religion, right? It's like a lot of them have the same core value of treating yourself as you would or treating someone else as you would treat yourself, and this that same love at the center. But everybody has a different technique. And there is no validation necessarily, like you're saying. So I love what you just brought up about sort of then noticing what these really legendary actors are doing makes you feel like, okay, I'm also doing that. I'm also putting in the work and you feel a bit more validation, you know? Going back to the humanity and sort of like your artistic choices. What about then when you're on the set and you're getting a direction that you don't necessarily understand or your instinct is actually in contrast with the direction? How do you balance sort of picking those battles of advocating for yourself and your character while being a team player in the sense of like, okay, we don't have time. I'll try this, I'll try that. Like I'm sure you're game for anything, but how have you found that journey to be?

SPEAKER_03 33:27

Yeah. I I let them know immediately I need clarity. You need to make it make sense. I understand the direction in which we're going, but I just need clarity. And I think I've reached a point where I can, you know, there's not too many actors that can ask that. It's just like move over there and go in that direction. But at this point in my career, it's like I'm grateful for the work and I appreciate being a part of

Getting Clarity When Direction Conflicts

SPEAKER_03 33:48

the project, right? And I also want to give you the best work. In order for me to do that, I need to understand what you're saying. I need to understand the direction in which we're going and why. And then a lot of times it happened to me also, it was just like, okay, this makes no sense. Help me understand I wouldn't do this, Jamie. Help me understand why you feel the character would do this and why would we move into this space? And then once we have a conversation about it, whether it's quick or not, then we come to a place of understanding and then I can move forward. Right? Because you know, when you realize that you walk into a casting room and a casting director would love to cast you, their job is to really want you to be the one, and you really want the job. I feel like it's the same thing on set. Right?

SPEAKER_01 34:51

Yeah.

SPEAKER_03 34:53

Director and the producer really want you. It's gonna make everybody look good if you know what you're saying and know what you're doing and get direction. The direction can be difficult, but you know, clarity is oh clarity for me is key. I don't want to not understand the reason why I'm doing this.

SPEAKER_00 35:14

Yeah, clarity, I think, is a great kindness in in all sorts of arenas of life. And you told a fantastic story on a podcast with your pastor where you were working on power earlier on, and you got there, and it was very much in contrast with your values and who you are, and how you navigated that I thought was super powerful for listeners. I mean, you I won't make you retell that everybody, if you could shout out the podcast's name, let's give the pastor some love and you can tune in and listen to the full story over there if you want.

SPEAKER_03 35:43

AR Bernard.

SPEAKER_00 35:45

Yes. And it was an awesome story just to sum it up about how you got there. And then by having that conversation and communication with people on set, you realized, oh, they're actually not really for this either. So instead of sort of going in myself and saying I'm not doing this and leaving, having that outward conversation actually allowed you all to get to an even better place. I think that's so incredible and amazing. Jamie, now it's time for a surprise game. If you're down, I'm down. It's called casting keywords, and basically it's a flash round. So we'll move a little faster here, or I'll try not to hold us up, is what I mean. And I'm gonna say a keyword, and you just say the first piece of advice that pops into your head associated with that word, which will be a word we all know or a phrase from our business. Does that make sense? You'll get it as we go. It's it's not it I made it, so it's pretty easy. Okay. The first ones here are headshots and resume. Detail. Digital. Digital and detail. I like that. Okay, what about the slate? The slate.

SPEAKER_03 36:48

Oh, the slate personality.

SPEAKER_00 36:51

Mmm. I wonder, because slate reminds me of your height. I am a shorty, I have the opposite. How does I mean being tall seems so dreamy, but how how do you feel like that physicality has like very much informed booking things? Is it like, have you ever felt stuck in being tall? That's just a random spin-off question. I said it would be a flashlight.

SPEAKER_03 37:09

Oh no, no. Oh no, absolutely. But you know what? Within the spin-off question, my answer to that is what I've witnessed working on production, what they can do with the camera lens is beyond me. So the actor that I worked with on um on The Wire, his name is Gabenga. He's shorter than me. But everyone thought that he was taller than me based on the way that they shot the scene. So you never have to really worry about your height.

SPEAKER_00 37:37

Oh, I love that. Okay. That makes me very happy. They'll put you on an apple box, you say. Well, apples and oranges, moving into a different type of fruit here. What about your self-tape tip?

SPEAKER_03 37:49

Oh, self-tape tip.

SPEAKER_00 37:52

Really listen, really respect. Love that. Producing your own work since you're such an expert producer now as well. Do what you love. What about making choices? We touched on this a little bit, but actors here make a choice a lot.

SPEAKER_01 38:10

That's a good one.

SPEAKER_00 38:11

Do the work. I like asking that one because I think make a choice can be filtered very differently in people's brains. It can be like a perspective. Sometimes it's a costume, you know, and so I think it's an interesting one to get the opinion of of claimed people like yourself.

SPEAKER_03 38:29

If I can elaborate on that a little bit, the choices will come from the work that you do. The wardrobe, you'll do the work. You'll really want to know what this character wears, what he wears, what his hairstyle is like, what he eats. You'll do the work and it'll inform the choices that you make as well.

SPEAKER_00 38:48

I need a Jamie Hector ripoff calendar that I can just have at my desk. I do. Okay. Getting into a different territory here. What about self-sabotage?

SPEAKER_01 39:01

Oh. Your talent will follow your character.

unknown 39:08

Oh.

SPEAKER_01 39:10

Just be kind. Be passionate and kind.

SPEAKER_00 39:14

I love that so much. That's perfectly said. What about social media? Because this is a new arena that actors are almost expected to be on a lot of the time. And I know this is something you've been exploring in a narrative sense with your YA series. What's your overall thoughts there?

SPEAKER_03 39:32

So in regards to social media, it can be very distracting. So if there's any way that you can associate someone to help keep it consistent on your behalf, then I think that would be ideal. Because there's something about getting on social media to do one thing and your mind is scattered everywhere else and you're forgetting exactly your purpose, which is to be a creative artist. Train in the acting space, produce content, create. But once you start tapping into diving into social media and opening up other pages, et cetera, et cetera, I feel like it's mandatory, but I also feel like if you can if you can not be on it, if you can time yourself to not be on it for a certain amount of time, it would be ideal.

SPEAKER_00 40:22

But you need them. I love that. I mean, I as someone with ADHD, it is especially a rabbit hole, I'll call it. So I appreciate that that wisdom right there. The last one I have here is a tough one. Rejection.

SPEAKER_03 40:38

Rejection. It is a tough one. Because I've seen so many people drop out of the business because they just can't take that rejection. What I say about that is so many things. One, have a wonderful team around you. Two, have hobbies that also lean into what you do for a living. Like you have to get out. Movement is life, stagnation is death. You have to keep it moving mentally, spiritually, physically, emotionally, and not just be totally engulfed for me. What works for me, not

Rejection, Giving Back, And Community

SPEAKER_03 41:21

just be so wrapped up in um getting a part that might not have been for you. I hear people say all the time, um, it wasn't for you. And I'm like, I wish it was. But it wasn't for you because what I put in work. And so I embody things like getting rid of the material, no longer speaking about the project. If it's if it's not meant to be, then it's not. If it is, then they'll give me time to prepare as it comes along. But the rejection part, you don't want to let that consume you, you know. I I feel like it can be something that really derails people from what their passion is.

SPEAKER_00 42:03

I could listen to you all day, and I'm just so grateful that this timing worked out, despite all the technical things. And that was certainly a beautiful place to land, but we do always end with a gotten and or a given. So the best piece of advice you've either gotten or have to give in regards to this industry, and I think we can specifically say for actors listening today. So in these last two minutes, if there's anything else you want to share, please do. It could be a gotten, a given, or both.

SPEAKER_03 42:32

I've gotten so much. What I've gotten was to give. And the more you give, the more you receive, whether you know it or not. So give what you have. Give time, give love, give Moving Mountains is my organization that I started in order to give to young potential artists free of charge because that was given to me. And I've seen so many lives change, I've seen my life change. Spark. You know, somebody wants planted a seed and other people wanted it. So give. Just give. I took Moving Mountains to Urban World. We had a film that we shot and it was at Urban World, so we were all there. And for the most part, a lot of the young actors, they were trying to get closer to other actors that were seasoned. And I said, You're looking at the wrong people. You need to get closer to the casting directors, directors, and the producers and just share who you are, what you do for a living, small talk conversation. And then met Robbie Reed. Robbie Reed is an amazing casting director, one that I truly love. She has a special eye. And I introduced her to all of them. She said, Oh, okay. It's wonderful meeting you. Fast forward. She was casting for a show called New Audition, which made us rounds. It's from the New Audition RB group, which then had their own show, which was amazing. And she called all of them in the room, one by one, and to cast for a role in the audition. They auditioned, they had an opportunity, they experienced. And it was a wonderful moment just to share. Once you go into these places, make sure you get out there, make sure that you shake hands, give hugs, even though we're in this digital internet world. Being in the presence of people, of humans, is really important.

SPEAKER_00 44:30

Yeah, I couldn't agree more. Nothing will replace the power of community, which is essentially what a set, a rehearsal room, a theater is. It's all communing together and telling a story. And I just think that's a beautiful place to land at the top of the mountain here. And thank you for moving mountains again. I know we brought it up a little bit, but everybody should go check that out because you have ushered so many people into their dreams. And I know there's so many people in the union within that sort of what is it? I guess less than 2% of our union of people that are actually working actors. You've you've squeezed a lot of people in there, which is very inspiring. And I am excited to learn more about that and to cheer you on. And I just thank you for being you because I think you're a great role model for us actors to have in this industry, Jamie.

SPEAKER_03 45:13

So much rather. And thank you for what you do as also as well. Thank you for this platform.